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From: [e-mail] (Norman Walsh)
Newsgroups: comp.fonts,news.answers
Subject: comp.fonts FAQ.diffs-1.1.0-1.1.1
Summary: This posting answers frequently asked questions about fonts.
         This file contains the context diffs of version 1.1.0. of the
         FAQ and version 1.1.1. of the comp.fonts FAQ.
Message-ID: <[e-mail]>
Date: 7 Dec 92 19:19:34 GMT
Expires: 8 Jan 93 00:00:00 GMT
Sender: [e-mail]
Reply-To: [e-mail] (Norm Walsh)
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Organization: Dept of Comp and Info Sci, Univ of Mass (Amherst)
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Archive-name: fonts-faq/diffs
Version: 1.1.1.

diff -c2 newfaq/FAQ.1a.General-Info oldfaq/FAQ.1a.General-Info
*** newfaq/FAQ.1a.General-Info    Mon Dec  7 14:08:35 1992
--- oldfaq/FAQ.1a.General-Info    Mon Dec  7 14:02:25 1992
***************
*** 1,5 ****
  FAQ for comp.fonts: Chapter I: General Info

! Version 1.1.1., Release 07DEC92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
--- 1,5 ----
  FAQ for comp.fonts: Chapter I: General Info

! Version 1.1.0., Release 02NOV92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
***************
*** 80,84 ****
     Standard disclaimers apply.

!    The FAQ is maintained by Norm Walsh <[e-mail]>

  1. What's the difference between type 1 fonts, type 3 fonts, type 5 fonts,
--- 80,85 ----
     Standard disclaimers apply.

!    The FAQ is maintained by Norm Walsh <[e-mail]> and
!    Bharathi Jagadeesh <[e-mail]>.

  1. What's the difference between type 1 fonts, type 3 fonts, type 5 fonts,
***************
*** 106,123 ****
     characters.

!    Outline fonts represent each character mathematically as a series of lines,
!    curves, and 'hints'.  When a character from an outline font is to be
!    printed, it must be 'rasterized' into a bitmap "on the fly".  PostScript
!    printers, for example, do this in the print engine.  If the "engine" in the
!    output device cannot do the rasterizing, some front end has to do it first.
!    Many of the disadvantages that are inherent in the bitmapped format are not
!    present in outline fonts at all.  Because an outline font is represented
!    mathematically, it can be drawn at any reasonable size.  At small sizes,
!    the font renderer is guided by the 'hints' in the font; at very small
!    sizes, particularly on low-resolution output devices such as screens,
!    automatically scaled fonts become unredable, and hand-tuned bitmaps are a
!    better choice (if they are available).  Additionally, because it is
!    rasterized "on demand," the font can be adjusted for different resolutions
!    and 'aspect ratios'.

     LaserJet .SFP and .SFL files, TeX PK, PXL, and GF files, Macintosh
--- 107,125 ----
     characters.

!    Outline fonts represent each character mathematically as a series of
!    lines, curves, and 'hints'.  When a character from an outline font is to
!    be printed, it must be 'rasterized' into a bitmap "on the fly".
!    PostScript printers, for example, do this in the print engine.  If the
!    "engine" in the output device cannot do the rasterizing, some front end
!    has to do it first.  GhostScript, for example, rasterizes the page before
!    it displays it on the screen.  Many of the disadvantages that are
!    inherent in the bitmapped format are not present in outline fonts at all.
!    Because an outline font is represented mathematically, it can be drawn at
!    any reasonable size without significant loss of quality (at least, the
!    loss of quality is not a direct consequence of resizing it--any font
!    printed at a small enough size shows a significant loss of quality as the
!    size approaches the resolution of the device).  Additionally, because it
!    is rasterized "on demand," the font can be adjusted for different
!    resolutions and 'aspect ratios'.

     LaserJet .SFP and .SFL files, TeX PK, PXL, and GF files, Macintosh
***************
*** 126,131 ****

     PostScript Type 1, Type 3, and Type 5 fonts, Nimbus Q fonts, TrueType
!    fonts, Sun F3, MetaFont .mf files, and LaserJet .SFS files are all examples
!    of outline font formats.

     Neither of these lists is even close to being exhaustive.
--- 128,132 ----

     PostScript Type 1, Type 3, and Type 5 fonts, Nimbus Q fonts, TrueType
!    fonts, and LaserJet .SFS files are all examples of outline font formats.

     Neither of these lists is even close to being exhaustive.
***************
*** 153,162 ****
     other) section.

!    *-[Semi-Quote]------------------------------------------------------*
!
!    [Ed Note: Liam R. E. Quim supplied many changes to the following
!    section in an attempt to bring it up to date.  Hopefully it is a
!    better reflection of the state of the world today (12/07/92) than it
!    was in earlier FAQs]

     There has been a lot of confusion about font technologies in recent
--- 154,158 ----
     other) section.

!    *-[Quote]-----------------------------------------------------------*

     There has been a lot of confusion about font technologies in recent
***************
*** 170,181 ****
     data encryption. The decryption is provided by the `eexec' (encrypted
     execute) PostScript operator and, until recently, was only present in
!    Adobe's licensed PostScript.
!
!    Adobe has published the details of the Type 1 font format in the `Black
!    Book', Adobe Type 1 Font Format (version 1.1), Adobe Systems Inc., 1990.
!    The encryption was mainly used because of font copyright problems;
!    unencrypted fonts can also be used, but these tend to use an efficient
!    binary encoding, also in documented the Type 1 book, and so are still not
!    readable PostScript.

     Type 1, Type 3, and Type 5 font formats
--- 166,190 ----
     data encryption. The decryption is provided by the `eexec' (encrypted
     execute) PostScript operator and, until recently, was only present in
!    Adobe's licensed PostScript. Recently, RIPS reverse-engineered the
!    eexec operator and now provides it to its licensees. Other clone
!    vendors are sure to follow.
!
!    It is important to note that the eexec operator can be used to
!    decrypt and execute any valid PostScript statement. Therefore, any
!    PostScript program or program fragment may be encrypted so it will
!    work with eexec operator.
!
!    You will further note that eexec is not tied to fonts in any way.
!    While eexec is mostly used to protect font data, it can be used to
!    protect any PostScript code. It just so happens that Adobe's favorite
!    thing to protect is font data. The eexec operator is also used to
!    hide the methods for applying patches to the PostScript system and
!    methods for gaining privileged access to protected procedures.
!
!    There is no gain in speed by encryption. In fact, there is a slight
!    speed penalty resulting from decryption. The encrypted data is also
!    twice as big as unencrypted data. This is compensated for in Adobe
!    fonts by storing the hexadecimal characters (cipher text) as binary
!    on the host disk.

     Type 1, Type 3, and Type 5 font formats
***************
*** 194,200 ****
     anything a Type 1 font can do a Type 3 font can also do.

-    [Ed note: the reverse is not true.  Type3 fonts can do things that
-     Type1 fonts cannot.  But they aren't hinted...]
-
     When PostScript is asked to generate a character, PostScript looks in
     the font's dictionary for FontType. If FontType is 1 or 5 PostScript
--- 203,206 ----
***************
*** 209,215 ****
     different BuildChar routines.

!    [Ed note: relative hard disk efficiency of Kingsley vs. Adobe fonts
!     deleted on 12/07/92]
!
     Type 5 fonts are special in that they often include hand-tuned
     bitmaps for the commonly used sizes, such as 10- and 12-point. Other
--- 215,233 ----
     different BuildChar routines.

!    The font data for Adobe's Type 1 font format is a binary
!    representation of the outline font data. Kingsley/ATF also uses a
!    binary representation of its Type 3 outline font data and stores the
!    binary code as binary on the host disk. Both company's binary
!    representation and store technique substantially reduces the storage
!    requirements on the host and in the printer.
!
!    Other vendors, such as Altsys and Bitstream, also use a binary
!    encoding system for their Type 3 outline font data. However the data
!    is stored on the host as hexadecimal text characters and requires
!    about double the storage as the binary storage technique. It should
!    be noted that a compact text encoding (an alternate Altsys format)
!    requires two to three times as much storage space as the binary
!    storage technique.
!
     Type 5 fonts are special in that they often include hand-tuned
     bitmaps for the commonly used sizes, such as 10- and 12-point. Other
***************
*** 216,222 ****
     sizes are generated from the outlines in normal fashion.

!    Don't confuse Type 1, Type 3, and Type 5 fonts with Bitstream's Type A,
!    Type B, Type C, and Type F. They are not the same and serve only to confuse
!    the issue.

     Resolution `hints'
--- 234,244 ----
     sizes are generated from the outlines in normal fashion.

!    Type 3 fonts can also be used to implement other font outline
!    systems, such as Sun's F3 and Apple's B-spline. Type 1 and Type 5
!    fonts can only be used with the Adobe font format.
!
!    Also, don't confuse Type 1, Type 3, and Type 5 fonts with Bitstream's
!    Type A, Type B, Type C, and Type F. They are not the same and serve
!    only to confuse the issue.

     Resolution `hints'
***************
*** 244,250 ****
     character no matter how coarse the grid is.

!    [Ed note: deleted some paragraphs that are no longer true.  Times change...]

!    Optical Scaling

     Optical Scaling modifies the relative shape of a character to
--- 266,309 ----
     character no matter how coarse the grid is.

!    Adobe's hinting system relies on regularizing (equalization) and
!    straightening out the original character outline as much as possible
!    when the font is created. Unfortunately this process of modifying the
!    original font outlines for the sake of low resolution can badly
!    distort the character from its original design. These distortions are
!    visible when printing at high resolution. This system also places
!    limitations on the placement of end points in the outline, again for
!    the sake of the hinting system.
!
!    The new Fontographer hinting system (a subset of Nimbus-Q) places
!    similar restrictions on the character outline. for instance, to make
!    proper use of the hints, a character must be (re)drawn with curve end
!    points at curve maximum/minimum X/Y extents. In order for strokes to
!    be equalized to the same widths, they must be (re)drawn with exactly
!    the same widths. Again, the shape of the character is ruled by the
!    limitations of the hinting system.
!
!    The hinting system used by Kingsley/ATF in ATF Type Designer I* is
!    fundamentally different. It does not require special placement of
!    curve and end points in order to function. It also does not require
!    modification of the original font outline to aid in grid fitting or
!    stroke equalization. Once the outline has been created to the
!    artist's satisfaction the hints for stroke equalization and grid
!    fitting are added without any modification to the character outline.
!    The net effect is that the Kingsley/ATF system does not sacrifice
!    high-resolution quality while achieving low-resolution quality.
!
!    Character fill algorithms
!
!    The fill algorithm in PostScript tends to turn on too many pixels and
!    make a character fatter and wider by one or two pixels. This is
!    especially obvious in small sizes at low resolutions. Both Adobe and
!    Kingsley/ATF compensate for this, thus keeping characters to proper
!    thickness.
!
!    Other type vendors do not currently compensate for the fill algorithm
!    and thus end up with undesirably heavy characters, which is
!    particularly noticeable at small sizes.

!    Optical Scaling*

     Optical Scaling modifies the relative shape of a character to
***************
*** 254,258 ****
     and interline spacing should increase. Conversely, as a character
     gets larger, the relative thickness, widths, and spacing should
!    decrease.

     Contrast this with linear scaling, in which all parts of a character
--- 313,317 ----
     and interline spacing should increase. Conversely, as a character
     gets larger, the relative thickness, widths, and spacing should
!    decrease. Optical Scaling is used by Kingsley/ATF.

     Contrast this with linear scaling, in which all parts of a character
***************
*** 259,263 ****
     get larger or smaller at the same rate, making large characters look
     wide and heavy (strokes are too thick, serifs are too big) while
!    small characters look thin and weak.

     Kerning
--- 318,327 ----
     get larger or smaller at the same rate, making large characters look
     wide and heavy (strokes are too thick, serifs are too big) while
!    small characters look thin and weak. Linear scaling is used by Adobe,
!    Altsys, Bitstream, and all other typeface manufacturers.
!
!    The difference between linear scaling and Optical Scaling are clear,
!    a difference even the untrained eye can see. The difference is
!    particularly easy to see at high resolutions.

     Kerning
***************
*** 269,272 ****
--- 333,350 ----
     However, it may also be used to add space.

+    How many kern pairs do you need? The answer depends on how well
+    regular character spacing has been set and on the typeface itself.
+    The better the default letterspacing has been set, the fewer kerning
+    pairs are needed. In fact, an excessive number of kern pairs may be
+    the artifact of a poor letterspacing job.
+
+    The typeface itself has a lot to do with which characters may benefit
+    from kerning. Just because one typeface has a kern pair does not mean
+    the text typeface will need kerning for the same pair. Different
+    typeface designs have very different kerning requirements.
+
+    The moral to the story is: The number of kerning pairs is not a good
+    quality indicator.
+
     PostScript clones

***************
*** 273,296 ****
     There are currently several printer manufacturers on the market with
     PostScript clones. To be viable, a PostScript clone must comply with
!    the `red book' (PS Language Reference Manual).

-    In order to avoid paying royalties to Adobe, and because Adobe's Type 1
-    font format was originally preprietary, many PostScript interpreters use
-    some other font format.  Sun uses F3, and some other vendors use
-    Bitstream's Speedo format, for example.  The only real problem this causes
-    is that the widths of characters (the `font matrics') may vary from
-    Adobe's, so that programs that assume the Adobe character widths will
-    produce poor quality output.  Bitstream fonts used to be particularly bad
-    in the early days, but they and most or all of the other vendors have
-    solved those problems.
-
-    Apple TrueType [Ed note: formerly "Royal (`sfnt')"] format and System 7
-
-    Apple's new System 7.0 supports a new format of outline font that will
-    allow high-quality characters of any size to be displayed on the screen.
-    TrueType stores font outlines as B-spline curves along with programmed
-    resolution hints. B-spline curves are faster to compute and easier to
-    manipulate than the Bezier curves used in PostScript.
-
     Adobe is not going to support Apple's new format by converting the
     Adobe/Linotype library to B-spline format. There are two reasons for
--- 351,391 ----
     There are currently several printer manufacturers on the market with
     PostScript clones. To be viable, a PostScript clone must comply with
!    the `red book' (PS Language Reference Manual). The main problem the
!    clones have is with fonts. Much of the font (and copy-protection)
!    technology Adobe uses is undocumented.
!
!    The eexec operator is not defined and Adobe protects its operations
!    as a trade secret. Without the eexec operator Adobe fonts cannot be
!    decrypted. There are many other operators like eexec, such as the
!    internal BuildChar routine, that are required for proper operation of
!    Adobe fonts, and these operators are also held as trade secrets.
!    Without these operators, the Adobe font data cannot be interpreted.
!
!    The clone problem can be approached from two directions. RIPS, a
!    PostScript clone manufacturer, has reverse-engineered the eexec and
!    other operators (including BuildChar and friends) and now sells a
!    PostScript clone that is Adobe-compatible in all respects needed for
!    proper interpretation of Adobe font data (Type 1 encrypted). Other
!    companies are sure to follow. This is only important to users who
!    have purchased or desire to purchase the Adobe/Linotype font library.
!
!    The other way to solve the font technology problem is to implement
!    your own. This is the route chosen by Altsys, Bitstream,
!    Kingsley/ATF, and various other vendors. Some of the technologies
!    used by these companies have been listed and compared. All these
!    vendors use Type 3 unencrypted fonts, but the similarities end there.
!    The technologies implemented from one company to the next vary in
!    source of artwork, precision of digitization, availability and types
!    of hints, Optical Scaling, storage requirements, and much more.
!
!    Apple Royal (`sfnt') format and System 7
!
!    Apple's new System 7.0 will support a new format of outline font that
!    will allow high-quality characters of any size to be displayed on the
!    screen. The new format (`sfnt') stores font outlines as B-spline
!    curves along with programmed resolution hints. B-spline curves are
!    faster to compute and easier to manipulate than the Bezier curves
!    used in PostScript.

     Adobe is not going to support Apple's new format by converting the
     Adobe/Linotype library to B-spline format. There are two reasons for
***************
*** 300,304 ****
     too big a market to simply turn away from. Therefore, Adobe will
     provide its Font Manager to display its own fonts on the Mac screen.
!    Apple ships Adobe's ATM for this purpose.

     *-[Unquote]---------------------------------------------------------*
--- 395,448 ----
     too big a market to simply turn away from. Therefore, Adobe will
     provide its Font Manager to display its own fonts on the Mac screen.
!
!    K/A will provide its entire library in Apple's B-spline format in
!    addition to various PostScript formats. Users will be able to pick
!    whatever format is most convenient.
!
!    The Adobe font license
!
!    When you license Adobe's font technology you get a `black box' that
!    takes your font data in a prescribed format and turns it into Adobe's
!    format with hints (suitable for use by the Type 1 BuildChar routine)
!    and encrypted fonts for use by the eexec operator. No capability is
!    provided to create or edit font data or screen fonts.
!
!    The Kingsley/ATF font license
!
!    When you license Kingsley/ATF's font technology you get a complete
!    state-of-the-art font digitization system (ATF Type Designer I*),
!    with output capabilities for supporting many operating systems and
!    formats, resolution hinting, Optical Scaling, kerning editor,
!    automatic screen font generation, and screen font editor. Included is
!    a sophisticated end-user font utility. You also receive assistance in
!    converting your current font data into the ATF format for editing.
!
!    The Altsys font method
!
!    Altsys sells a font digitization system called Fontographer without
!    further license. The new version supports a limited version of the
!    Nimbus-Q hinting system, and includes a kerning editor, output for
!    the Macintosh, and a screen font editor.
!
!    The FontStudio method
!
!    Letraset has purchased the FRed font editor and should be releasing
!    it soon. It will be sold without further license.
!
!    The URW font method
!
!    URW designed the Ikarus system about 15 years ago. Due to the
!    normally small size of artwork and the cross-hair pointer used in the
!    digitization process, the accuracy of outlines generated with this
!    system suffers. This is the same system used to generate the Adobe
!    font outlines. They are currently marketing the Nimbus-R hinting
!    system.
!
!    ATF Type Designer I and Optical Scaling are trademarks of
!    Kingsley/ATF Type Corporation. PostScript is a trademark of Adobe
!    Systems Incorporated. Apple and Macintosh are trademarks of Apple
!    Computer, Inc.  Fontographer is a trademark of Altsys Corporation.
!    Ikarus and Nimbus-R are trademarks of URW. FontStudio is a trademark
!    of Esselte Pendaflex Corporation.

     *-[Unquote]---------------------------------------------------------*
***************
*** 429,435 ****
     *-[Quote]-----------------------------------------------------------*

!    First, the short answer in the USA: Typefaces are not copyrightable;
!    bitmapped fonts are not copyrightable, but scalable fonts are
!    copyrightable.  Authorities for these conclusions follow.

     Before we get started, let's get some terminology down:
--- 573,579 ----
     *-[Quote]-----------------------------------------------------------*

!    First, the short answer: Typefaces are not copyrightable; bitmapped
!    fonts are not copyrightable, but scalable fonts are copyrightable.
!    Authorities for these conclusions follow.

     Before we get started, let's get some terminology down:
***************
*** 471,475 ****
     cognizable combinations of characters.  The Committee does not regard
     the design of typeface, as thus defined, to be a copyrightable
!    'pictorial, graphic, or sculptural work' within the meaning of this bill
     and the application of the dividing line in section 101."  H. R. Rep.
     No.  94-1476, 94th Congress, 2d Session at 55 (1976), reprinted in 1978
--- 615,619 ----
     cognizable combinations of characters.  The Committee does not regard
     the design of typeface, as thus defined, to be a copyrightable
!    'pictoral, graphic, or sculptural work' within the meaning of this bill
     and the application of the dividing line in section 101."  H. R. Rep.
     No.  94-1476, 94th Congress, 2d Session at 55 (1976), reprinted in 1978
***************
*** 480,485 ****
     (1978, C.A. 4, Va.).

!    The U.S. Copyright Office holds that a bitmapped font is nothing more than
!    a computerized representation of a typeface, and as such is not
     copyrightable:

--- 624,629 ----
     (1978, C.A. 4, Va.).

!    The Copyright Office holds that a bitmapped font is nothing more than a
!    computerized representation of a typeface, and as such is not
     copyrightable:

***************
*** 602,612 ****
    Bitmap Fonts:

!     Bitmap fonts contain bitmaps of fonts in them.  This a picture of the
!     font at a specific size that has been optimized to look good at that
!     size. It cannot be scaled bigger without making it look horrendously
!     ugly.  On the Macintosh, bitmap fonts also contain the kerning
!     information for a font and must be installed with both type 1 and
!     type 3 fonts.  Their presence also speeds the display of commonly
!     used font sizes.

  6.2.1. Font Format Extensions
--- 746,756 ----
    Bitmap Fonts:

!     Bitmap fonts contain (surprise) bitmaps of fonts in them.  This a
!     picture of the font at a specific size that has been optimized to
!     look good at that size. It cannot be scaled bigger without making it
!     look horrendously ugly.  On the Macintosh, bitmap fonts also contain
!     the kerning information for a font and must be installed with both
!     type 1 and type 3 fonts.  Their presence also speeds the display of
!     commonly used font sizes.

  6.2.1. Font Format Extensions
***************
*** 619,623 ****
    .bez   Bezier outline information
    .chr   Borland stroked font file
-   .fot   MS-Windows TrueType format fonts
    .gf    Generic font (the output of TeX's MetaFont program (possibly others?))
    .fli   Font libraries produced by emTeX fontlib program.  Used by emTeX
--- 763,766 ----
diff -c2 newfaq/FAQ.1b.General-Info oldfaq/FAQ.1b.General-Info
*** newfaq/FAQ.1b.General-Info    Mon Dec  7 14:08:35 1992
--- oldfaq/FAQ.1b.General-Info    Mon Dec  7 14:02:25 1992
***************
*** 44,53 ****
         ff fi fl ffi ffl Rp ct st Sh Si Sl SS St (where S=long s)

!    [Ed: Another common example is the Computer Modern Roman typeface that
!    is provided with TeX. this family of fonts include the ff, fi, fl,
!    ffi, and ffl ligatures which TeX automatically uses when it finds
!    these letters juxtaposed in the text.]

!    While there are a large number number of possible ligatures, generally
     only the most common ones are actually provided.  In part, this is
     because the presence of too many alternate forms starts reducing
--- 44,53 ----
         ff fi fl ffi ffl Rp ct st Sh Si Sl SS St (where S=long s)

!    [Ed: Perhaps a more common example is the Computer Modern Roman
!    typeface that is provided with TeX. this family of fonts include the
!    ff, fi, fl, ffi, and ffl ligatures which TeX automatically uses when
!    it finds these letters juxtaposed in the text.]

!    While there are an infinite number of possible ligatures, generally
     only the most common ones are actually provided.  In part, this is
     because the presence of too many alternate forms starts reducing
***************
*** 58,85 ****
     Don Hosek offers the following insight into ligatures:

!      Ligatures were used in lead type, originally in imitation of
!      calligraphic actions (particularly in Greek which retained an
!      excessive number of ligatures in printed material as late as the
!      19th century), but as typefaces developed, ligatures were retained
!      to improve the appearance of certain letter combinations. In some
!      cases, it was used to allow certain letter combinations to be more
!      closely spaced (e.g., "To" or "Vo") and were referred to as
!      "logotypes". In other cases, the designs of two letters were merged
!      to keep the overall spacing of words uniform. Ligatures are provided
!      in most contemporary fonts for exactly this reason.
!
!    Liam Quim makes the following observations:
!
!      The term ligature should only be used to describe joined letters in
!      printing, not letters that overlap in manuscripts.
!
!      Many (not all) accents came from the practice of using a tilde or
!      other mark to represent an omitted letter, so that for example the
!      Latin word `Dominus' would be written dns, with a tilde or bar over
!      the n.  This is an abbreviation, not a ligature.
!
!      Most ligatures vanished during the 15th and 16th Centuries.  It was
!      simply too much work to use them, and it increased the price of book
!      production too much.

     [Ed: there is no "complete" set of ligatures.]
--- 58,71 ----
     Don Hosek offers the following insight into ligatures:

!    Ligatures were used in lead type, originally in imitation of
!    calligraphic actions (particularly in Greek which retained an
!    excessive number of ligatures in printed material as late as the 19th
!    century), but as typefaces developed, ligatures were retained to
!    improve the appearance of certain letter combinations. In some cases,
!    it was used to allow certain letter combinations to be more closely
!    spaced (e.g., "To" or "Vo") and were referred to as "logotypes". In
!    other cases, the designs of two letters were merged to keep the
!    overall spacing of words uniform. Ligatures are provided in most
!    contemporary fonts for exactly this reason.

     [Ed: there is no "complete" set of ligatures.]
***************
*** 114,124 ****
      All of the above, plus the following:

!     Scalable Times Roman and Scalable Univers using Compugraphic's
!     Intellifont hinted font format.

-   SPARCPrinters have the basic 35 font plus four scaled faces of each of
-   Bembo, Gill Sans, Rockwell, Lucida, Lucida Bright, Sans and Typewriter,
-   giving a total of 57 fonts, all in the F3 format.
-
  6.5. Glossary

--- 100,105 ----
      All of the above, plus the following:

!     Scalable Times Roman, Scalable Univers

  6.5. Glossary

***************
*** 134,137 ****
--- 115,125 ----
        it.

+       More technically:
+
+       The baseline is the invisible line around which character images are
+       positioned.  A sequence of characters is usually aligned, when rendered,
+       according to the baseline.  For example, an English 'A' sits on top of
+       the baseline, while 'g' extends both above and below the baseline."
+
     bitmap

***************
*** 419,430 ****
      Bill Ricker <[e-mail]>

-   _Chicago Manual of Style_ (University of Chicago Press, 1982;
-                              ISBN 0-226-10390-0).
-
-     The chapter on Design and Typography is most directly relevant, but there
-     are a lot of hints scattered all through the Chicago Manual on making your
-     words more readable and your pages more attractive.
-     Stan Brown <[e-mail]>
-
  7.2.1. (En)Coding Standards

--- 407,410 ----
***************
*** 432,449 ****
    Character Encoding_, Addison-Wesley Publishing Co.

-   Unicode consortium e-mail address is:
-
-        [e-mail]
-
-   To obtain more information on Unicode or to order their printed material
-   and/or diskettes contact:
-
-        Steven A. Greenfield
-        Unicode Office Manager
-        1965 Charleston Road
-        Mountain View, CA 94043
-        Tel. [phone]
-        Fax. [phone]
-
    _Xerox Character Code Standard_, Xerox Corp., Xerox Systems Institute,
    475 Oakmead Parkway, Sunnyvale, CA 94086
--- 412,415 ----
***************
*** 639,653 ****
      Masumi Abe <[e-mail]>
      Tim Bradshaw <[e-mail]>
-     Stan Brown <[e-mail]>
      Terry Carroll <[e-mail]>
      Ari Davidow <[e-mail]>
      Pat Farrell <[e-mail]>
!     Yossi Gil <[e-mail]>
!     Kesh Govinder <[e-mail]>
!     Rick Heli <[e-mail]>
      Gary <[e-mail]>
      Berthold K.P. Horn <[e-mail]>
      Don Hosek <[e-mail]>
!     Bharathi Jagadeesh <[e-mail]>
      David Mandl <[e-mail]>
      Kate McDonnell <?>
--- 605,616 ----
      Masumi Abe <[e-mail]>
      Tim Bradshaw <[e-mail]>
      Terry Carroll <[e-mail]>
      Ari Davidow <[e-mail]>
      Pat Farrell <[e-mail]>
!     Rick Heli <?>
      Gary <[e-mail]>
      Berthold K.P. Horn <[e-mail]>
      Don Hosek <[e-mail]>
!     Yossi Gil <[e-mail]>
      David Mandl <[e-mail]>
      Kate McDonnell <?>
diff -c2 newfaq/FAQ.2.Mac-Info oldfaq/FAQ.2.Mac-Info
*** newfaq/FAQ.2.Mac-Info    Mon Dec  7 14:08:35 1992
--- oldfaq/FAQ.2.Mac-Info    Mon Dec  7 14:02:25 1992
***************
*** 1,5 ****
  FAQ for comp.fonts: Chapter II: Macintosh-specific Info

! Version 1.1.1., Release 07DEC92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
--- 1,5 ----
  FAQ for comp.fonts: Chapter II: Macintosh-specific Info

! Version 1.1.0., Release 02NOV92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
***************
*** 66,70 ****
    Japanese      Shorai (Hirigana, with application)

!   Star Trek     StarTrekClassic, Star TrekClassicMovies, StarTrekTNGCrille,
                  StarTrekTNG Titles, TNG monitors, StarFleet,
          Klinzai (Klingon font)
--- 66,70 ----
    Japanese      Shorai (Hirigana, with application)

!   Start Trek    StarTrekClassic, Star TrekClassicMovies, StarTrekTNGCrille,
                  StarTrekTNG Titles, TNG monitors, StarFleet,
          Klinzai (Klingon font)
diff -c2 newfaq/FAQ.3.MS-DOS-Info oldfaq/FAQ.3.MS-DOS-Info
*** newfaq/FAQ.3.MS-DOS-Info    Mon Dec  7 14:08:35 1992
--- oldfaq/FAQ.3.MS-DOS-Info    Mon Dec  7 14:02:25 1992
***************
*** 1,5 ****
  FAQ for comp.fonts: Chapter III: MS-DOS-specific Info

! Version 1.1.1., Release 07DEC92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
--- 1,5 ----
  FAQ for comp.fonts: Chapter III: MS-DOS-specific Info

! Version 1.1.0., Release 02NOV92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
***************
*** 151,164 ****
         Windows' Control Panel, then try moving them higher in your WIN.INI
         file with a file edittor such as SYSEDIT.
-
-    Kesh Govinder <[e-mail]> suggested the following warning:
-
-    CAUTION: While many Windows 3.1 users would like to have many
-    TrueType fonts at their disposal (and they are many available in the
-    PD) a word of caution.  A large number (>50) TT fonts will slow down
-    your windows startup time.  This occurs as every installed font is
-    listed in the win.ini file, and Windows has to go through the entire
-    file before starting up.  While this may not affect most users, it
-    will especially affect users of CorelDraw!, so be warned.

    Other Programs
--- 151,154 ----
diff -c2 newfaq/FAQ.4.Unix-Info oldfaq/FAQ.4.Unix-Info
*** newfaq/FAQ.4.Unix-Info    Mon Dec  7 14:08:35 1992
--- oldfaq/FAQ.4.Unix-Info    Mon Dec  7 14:02:25 1992
***************
*** 1,5 ****
  FAQ for comp.fonts: Chapter IV: *nix-specific Info

! Version 1.1.1., Release 07DEC92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
--- 1,5 ----
  FAQ for comp.fonts: Chapter IV: *nix-specific Info

! Version 1.1.0., Release 02NOV92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
diff -c2 newfaq/FAQ.5.Sun-Info oldfaq/FAQ.5.Sun-Info
*** newfaq/FAQ.5.Sun-Info    Mon Dec  7 14:08:36 1992
--- oldfaq/FAQ.5.Sun-Info    Mon Dec  7 14:02:25 1992
***************
*** 1,5 ****
  FAQ for comp.fonts: Chapter V: Sun-specific Info

! Version 1.1.1., Release 07DEC92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
--- 1,5 ----
  FAQ for comp.fonts: Chapter V: Sun-specific Info

! Version 1.1.0., Release 02NOV92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
***************
*** 37,42 ****

    The following information regarding fonts under Open Windows was stolen
!   from Liam R.E. Quim's <[e-mail]> Open Windows FAQ.  The original author
!   was Rick Heli <[e-mail]>.

  2. Does OpenWindows support Type 1 PostScript fonts?
--- 37,41 ----

    The following information regarding fonts under Open Windows was stolen
!   from Liam R.E. Quim's <[e-mail]> Open Windows FAQ.

  2. Does OpenWindows support Type 1 PostScript fonts?
diff -c2 newfaq/FAQ.6.NeXT-Info oldfaq/FAQ.6.NeXT-Info
*** newfaq/FAQ.6.NeXT-Info    Mon Dec  7 14:08:36 1992
--- oldfaq/FAQ.6.NeXT-Info    Mon Dec  7 14:02:25 1992
***************
*** 1,5 ****
  FAQ for comp.fonts: Chapter VI: NeXT-specific Info

! Version 1.1.1., Release 07DEC92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
--- 1,5 ----
  FAQ for comp.fonts: Chapter VI: NeXT-specific Info

! Version 1.1.0., Release 02NOV92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
diff -c2 newfaq/FAQ.7.X-Info oldfaq/FAQ.7.X-Info
*** newfaq/FAQ.7.X-Info    Mon Dec  7 14:08:36 1992
--- oldfaq/FAQ.7.X-Info    Mon Dec  7 14:02:25 1992
***************
*** 1,5 ****
  FAQ for comp.fonts: Chapter VII: X-specific Info

! Version 1.1.1., Release 07DEC92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
--- 1,5 ----
  FAQ for comp.fonts: Chapter VII: X-specific Info

! Version 1.1.0., Release 02NOV92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
diff -c2 newfaq/FAQ.8.Utilities oldfaq/FAQ.8.Utilities
*** newfaq/FAQ.8.Utilities    Mon Dec  7 14:08:36 1992
--- oldfaq/FAQ.8.Utilities    Mon Dec  7 14:02:26 1992
***************
*** 1,5 ****
  FAQ for comp.fonts: Chapter VIII: Font utilities

! Version 1.1.1., Release 07DEC92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
--- 1,5 ----
  FAQ for comp.fonts: Chapter VIII: Font utilities

! Version 1.1.0., Release 02NOV92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
diff -c2 newfaq/FAQ.A.VendorList oldfaq/FAQ.A.VendorList
*** newfaq/FAQ.A.VendorList    Mon Dec  7 14:08:36 1992
--- oldfaq/FAQ.A.VendorList    Mon Dec  7 14:02:26 1992
***************
*** 1,5 ****
  FAQ for comp.fonts: Chapter Appendix A: Vendor List

! Version 1.1.1., Release 07DEC92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
--- 1,5 ----
  FAQ for comp.fonts: Chapter Appendix A: Vendor List

! Version 1.1.0., Release 02NOV92

  Welcome to the comp.fonts FAQ.  These articles, posted monthly, describe many
***************
*** 102,155 ****
  [phone]

! Bitstream, Inc.
! Athenaeum House
! 215 First St.
! Cambridge, MA 02142
! [phone]
! [phone]
!
!   A representative of Bitstream sent the following correction to me.
!
!   Bitstream offers:
!
!           **1100 PostScript Type 1 fonts for the Mac & PC. (These can
!           be ordered direct from Bitstream or thru several resellers.)
!
!           ** Bitstream Type Treasury -- the Bitstream Type Library for
!           the Mac (Type 1 format) on CD ROM.
!
!           ** Bitsteram Type Essentials--a series of 4 Typeface
!           Packages for PC & Mac that were selected to work well for
!           different jobs (Letters, Memos & Faxes; Newsletters,
!           Brochures & Announcements; Spreadsheets, Graphs &
!           Presentations; Headlines).
!
!           **Bitstream Typeface Packages for the PC -- 52 packages
!           (most with 4 faces each) that include a total of over 200
!           faces, with mutiple font formats in each package (Bitstream
!           Speedo, Type 1, Bitstream Fontware)
!
!           ** Bitstream TrueType Font Packs 1 & 2 for Microsoft Windows
!           ** Bitstream PostScript Font Packs 1 & 2 for the PC
!
!           ** Bitstream FaceLift for Windows
!           ** Bitstream FaceLift for WordPerfect
!              - both are font scaling/font management utilities.
!
!           ** Bitstream MakeUp for Windows - a type manipulation/
!           special effects program.
!
!           ** Bitstream Li'l Bits -- a new product line of novelty
!           fonts in TrueType format for Windows 3.1. The first release
!           began shipping last week and includes The Star Trek Font
!           Pack, The Flintstones Font Pack and The Winter Holiday Font
!           Pack.
!
!           We offer OEM customers an extensive range of non-latin type
!           (as you have noted in the current listing), but these faces
!           are not currently available to individual end-users.
!
!           We also offer font-scaling and rasterizing technology to
!           OEM customers.

  Blaha Software/Janus Associates : Big Foot (Mac) (HP/IBM)
--- 102,111 ----
  [phone]

! Bitstream, Inc.                 : MacFontware, SoftFonts (Mac) (HP/IBM)
! Athenaeum House                   Greek, Amharic, Arabic, Hebrew,
! 215 First St.                     Devanagari, Tai Dam, Laotian and Kanji
! Cambridge, MA 02142               (Ryobi Mincho and Gothic).
! [phone]                    Arabic = Malik (simplified), Madina
! [phone]                    (traditional), Sharif (headline)

  Blaha Software/Janus Associates : Big Foot (Mac) (HP/IBM)